A Quote by Ron Carlson
The literary story is a story that deals with the complicated human heart with an honest tolerance for the ambiguity in which we live.
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The literary story is a story that deals with the complicated human heart with an honest tolerance for the ambiguity in which we live. No good guys, no bad guys, just guys: that is, people bearing up in the crucible of their days and certainly not always - if ever - capable of articulating their condition.
We are trying to communicate that which lies in our deepest heart, which has no words, which can only be hinted at through the means of a story. And somehow, miraculously, a story that comes from deep in my heart calls from a reader that which is deepest in his or her heart, and together from our secret hidden selves we create a story that neither of us could have told alone.
I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.
The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.
And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.
In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
So tell me, since it makes no factual difference to you and you can't prove the question either way, which story do you prefer? Which is the better story, the story with animals or the story without animals?' Mr. Okamoto: 'That's an interesting question?' Mr. Chiba: 'The story with animals.' Mr. Okamoto: 'Yes. The story with animals is the better story.' Pi Patel: 'Thank you. And so it goes with God.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
Chicago is not a bad place to live. But the usual story of immigration is the happy fulfillment of human potential in America that is not available anywhere else - it's propaganda, really. It's more complicated than that.
I wanted to be a literary writer, so I wrote story after story and sent them to 'The New Yorker.'
Of the total creative effort represented in a finished work, 75 percent or more of a writer's labor goes into designing the story designing story tests the maturity and insight of the writer, his knowledge of society, nature, and the human heart. Story demands both vivid imagination and powerful analytic thought.
A good science fiction story is a story with a human problem, and a human solution, which would not have happened at all without its science content.
The true story of every person in this world is not the story you see, the external story. The true story of each person is the journey of his or her heart.
When an acting teacher tells a student 'that wasn't honest work' or 'that didn't seem real,' what does this mean? In life, we are rarely 'truthful' or 'honest' or 'real'. And characters in plays are almost never 'truthful' or 'honest' or 'real'. What exactly do teachers even mean by these words? A more useful question is: What is the story the actor was telling in their work? An actor is always telling a story. We all are telling stories, all the time. Story: that is what it is all about.
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